In this election year, education is a hot issue. So SHOOT thought why not extend that topic to the visual effects business, asking leading studio artisans and execs to set their curriculum.
SHOOT posed the following question:
If you could educate agencies and clients about any aspect of the visual effects business, what is the lesson you would like to impart for the betterment of the industry?
Here’s a sampling of the feedback we received:
John Andrews,
executive producer/creative director
ka-chew!, Hollywood.
Experienced agency people understand the components of picture. To whom should they turn to make their spots? Where the visuals are stylized, they should be looking for people who can give them that style If they’re realistic they should be looking for people with convincing examples of realism. However in both case they should be getting to know the producers and creatives at the VFX company to gauge their ability to cast the production. We choose our teams carefully and we are also prepared to go beyond our staffs and rosters to put the right people into a project. Looking at reels is only half. The other half is taking the time talk to people and find the ones who are smart and reliable partners.
Paul Babb,
executive producer
Rhythm + Hues Commercial Studios, Los Angeles.
Two of the most important aspects to a successful VFX production are collaboration and the willingness to think outside the “box.”
Our desire in working with clients is to create a product that is visually impacting, but is also respectful of budget and schedule parameters. We approach each project’s challenges from an organic standpoint, which is why it’s so helpful to be included early on in the creative process. This fosters a more collaborative experience, and it ensures an inspired and visually exciting product. For example, we’re currently finishing a GMC campaign that utilizes live footage, CG models, and digital compositing to create a photo-real story. In the same way, our feature work mixes real footage with digitally created worlds to further push believability and storytelling. Our recent Hartford commercial included not only post-enhanced live footage/effects, but also wove in the photo-real CG Hartford stag in the same way we did with The Golden Compass and The Incredible Hulk. The result of such creative collaboration is an unforgettable marriage of character animation and post effects.
Sean Broughton,
creative director/co-founder
Smoke & Mirrors, New York.
The effects world is changing, but the real challenge remains the same. Roy Disney got it right when he said, “It’s kind of fun to do the impossible,” and it’s a great way to spend your time, figuring out how to do the impossible or at least the very tricky.
Make the process a collaboration with the VFX house because what is most noticeable is when a piece of work has not been thoroughly thought through.
“The most difficult thing in the world is to know how to do a thing and to watch somebody do it wrong, without comment.”–T.H. White
Remember, a good post company is full of people that can’t wait to do the most incredible piece of work with you. Take advantage of their experience and use the knowledge and expertise they have amassed. See the R&D work that VFX artists are doing. You might just find the seed of the next Gold Lion there.
Peter Corbett,
president/partner/director
Click 3X, New York
In recent years, powerful developments in technology continue to provide new VFX tools that make just about anything possible. Shots once considered beyond hope now become quite workable. From shaky scenes to zero camera information to poorly lit green screens, it’s truly amazing how well our artists can create visual solutions–even starting from a completely blank canvas.
While all may be possible, effort is best served in targeting a well thought-out and integrated effects and shoot plan early in the process. We recently completed a complex Ford F150 spot for JWT. We were able to control how the spot was filmed, as well as being able to gather stills and camera data. The time saved re-creating this material was able to be leveraged into enhancing visuals. This underscores the benefit available from the live action company actively integrating with the VFX team, ensuring an influential seat at the table.
Alex Frisch,
managing director/lead VFX artist/VFX supervisor
Method Studios, Santa Monica
Success in VFX is preparation. I would suggest to our clients that they talk to us as early as possible in the process. One of the best ways to get ready is to create a previsualization; it’s a great opportunity for all the parties (director, agency, client) to have a better vision of the end product. This is the time to ask questions and make changes. Today’s market is unbelievably tough on VFX companies; budgets have shrunk by 50 percent, many fewer commercials are produced. For us to stay healthy, we have to improve our productivity, chase the waste and offer the best service possible, by communicating with the client at all stages. Unforeseen changes and revisions are the enemy; that’s when we take a bath and lose our shirt.
At Method we spend a tremendous amount of time advising and consulting with the client during the pre-production, so we can offer the best approach possible at the earliest stage in the process, which ultimately will ensure that every dollar spent will be on screen, allowing us all to create a jaw dropping commercial, on budget.
Nathan McGuinness,
creative director/founder
Asylum, Santa Monica.
I’m always hopeful that agencies get us involved as early in the process as possible. For the most part, the earlier we get involved in a VFX-driven project, the smoother the job runs. Even before a director is attached, we can help to iron out any problems that might occur during production. If a director is attached and we’re brought in to collaborate, it’s even better. By shooting or creating a pre-vis test, we can collectively decide if the project is feasible or not–so the VFX company/agency relationship is critical to a project’s success.
Case in point is a Canon spot we are currently working on via Grey, directed by Andrew Douglas of Anonymous Content. Andrew came to us very early on and with him we shot the initial idea–this test was a template that enabled both production and Asylum to have a proof of concept prior to shooting. Both the agency creatives, and Andrew have been extremely passionate about the piece which has made the job a truly enjoyable experience.
Click here to view SHOOT’s Spring Top 10 Visual Effects & Animation Chart
